‘Nonnas’ Review: Vince Vaughn, Susan Sarandon and Lorraine Bracco Bring the Right Seasoning to Netflix’s Comfort-Food Comedy

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In his latest film, director Stephen Chbosky, much like traditional chefs, appreciates the significance of quality ingredients. He’s carefully assembled an experienced cast that exudes natural charm for the narrative about a middle-aged man’s unexpected journey into restaurant ownership. The movie, titled Nonnas, maintains a cozy, home-cooked feel by eschewing elaborate presentations in favor of a familiar and consistent style. For many viewers, it will evoke a hint of nostalgia, and for all, it offers a refreshing break from the usual crime and action series on Netflix.

Vince Vaughn exudes an authentic earnestness as Joey Scaravella, the greenhorn entrepreneur, while Lorraine Bracco, Susan Sarandon, Talia Shire, and Brenda Vacarro portray the four grandmothers who team up with him in his unique culinary venture. These talented actresses gracefully navigate their roles. Unlike some comedies that solely focus on elderly women as a novelty, this film doesn’t resort to an overly sentimental approach. Instead, it embraces and celebrates women in their golden years without the forced charm often seen in such comedies. Director Stephen Chbosky, known for films like “The Perks of Being a Wallflower,” “Wonder,” and “Dear Evan Hansen,” maintains a balanced tone, blending humor with a touch of realism. The film’s humorous moments remain lighthearted, while its emotional scenes are presented in a way that feels genuine and unforced.

In this rephrased version:
A screenplay penned by Liz Maccie serves as the foundation for a film adaptation of Enoteca Maria’s origin tale. The director and actors, alongside exceptional set design work from Diane Lederman and Brenda Abbandandolo, craft an authentic depiction of middle-class Italian-American life in New York City (represented by New Jersey, with a closed restaurant, Spirito’s, acting as the central setting).

Nostalgia flows among the grandmas, coupled with a powerful bond forged by food, as this idea is encapsulated – “One does not grow old at the table.” This concept is beautifully depicted, with a lively, childlike perspective, by Cinematographer Florian Ballhaus in the opening flashback scene of the film: Young Joey (Theodore Helm) maneuvers through a bustling family reunion – a typical Sunday at home in Brooklyn – while his mother (Kate Eastman) and grandmother (Karen Giordano), bathed in the warm, loving light, oversee preparations in the kitchen.

Forty years after his mother’s passing, Joey (Vaughn) finds solace in recreating familiar family dishes within the walls of his childhood home. A dormant yearning stirs, leading him to visit the Staten Island farmers’ market, a place steeped in memories of his mother and grandmother. Since he doesn’t own a car, this journey offers picturesque vistas of the ferry crossing. Along the way, he unexpectedly encounters Olivia (Linda Cardellini), an old classmate, and the one who slipped through his fingers. Furthermore, during his travels, he discovers a run-down restaurant on sale, which he purchases using his inheritance as a down payment.

In essence, Joey’s friends Bruno and Stella didn’t quite mean this when they advised him to try something different due to their worry that he might be consumed by grief. However, Joey, who works for the MTA as a mechanic with little passion for his job, is driven by an idea and is determined not to waver: He intends to launch an Italian restaurant where grandmothers, rather than professional chefs, will cook. The hurdle he didn’t anticipate, one of many, is the unfriendly small-town mentality of some Staten Islanders, symbolized by a market vendor’s (Michael Rispoli) gruff skepticism.

In the group he assembles, there are four grandmothers – though two of them never had children. Two of these women are family acquaintances: Roberta (Bracco), known for her constant complaining, and Gia (Sarandon), who is both a skilled hairdresser and dessert maker. The remaining pair are new additions – Antonella (Vaccaro), Olivia’s neighbor with a deep affection for her late spouse, and Teresa (Shire), the former nun who seems as if she has just been released from confinement, yet possesses a tranquil wisdom during heated debates about food that escalate to regional levels, with Sicily (Roberta) and Bologna (Antonella) facing off.

Indeed, these characters are types in the truest sense, but they’re brought to life by performers brimming with charisma and devoid of the need for grandiose displays. As the quartet settle down for a limoncello-infused exchange of intimate secrets, they do so with minimal dialogue and fuss. In a manner that is both concise and evocative, Vaughn communicates a sense of shock surrounding Joey’s predicament, as well as the resilient spirit of someone embarking on a fresh start with renewed zest for life – not forgetting the tantalizing quest for his grandmother’s secret “gravy” recipe, or rather, her famous tomato sauce.

The performances by Manganiello, de Matteo, and others are spot-on, particularly noteworthy are those by Manganiello and de Matteo. They beautifully portray marital affection, complete with spats, as well as concern for their friend. Cardellini embodies warmth and intelligence, while Campbell Scott gives a memorable appearance as a snobbish yet compassionate food critic.

Regarding the food scenes in Ballhaus’s film, they are devoid of the sensuality often associated with “food porn”. Instead, his shots are straightforward and complement the film’s overall lived-in aesthetic. Editor Anne McCabe also refrains from prolonged focus on the food. It should be noted that the food depicted might not meet vegan standards, particularly the capuzzelle.

In a screenplay penned by Maccie, who hails from an Italian-American family in New Jersey and is married to Chbosky, there’s a straightforwardness that’s largely invigorating yet at times overly so. The plot carries unexpected twists that are unfortunately predictable. Despite the authenticity of Joey’s struggles, such as mounting debts, conflicts with his arrogant boss (Richie Moriarty), problems with building inspections, and a rift with Bruno – all plausible issues; the conclusions sometimes lack depth.

In this production, every underlying meaning is clearly expressed, and sometimes the music emphasizes what we’ve already grasped. Yet, the actors always manage to add subtle touches, making even ordinary conversations resonate with empathy. There are delightful moments of humor as well, especially in Bracco’s portrayal of the grumpy character. The show, much like a warm meal prepared by grandmothers, doesn’t require effort; instead, it invites us to relax and take pleasure in it.

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2025-05-09 02:28